GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Graham Parker, Union Chapel London/Touring
Acoustic set lacks essence of a great body of work
Nothing needs fixing: Graham Parker
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
OFTEN an “unplugged” session by an artist reveals an extra dimension to their music, stripping it down to essential components and revealing hitherto unconsidered depths.
Not so, it seems, with Graham Parker. Solo, with only an acoustic or electric guitar as accompaniment, he stands somewhat naked in the spotlight, unable to reinterpret his work in a way that does it full justice.
Few of the 19 songs he delivers to an attentive and supportive audience sound as good as the originals and, more disconcertingly, many of them — even classics such as Howlin’ Wind and White Honey — feel as if they have lost their very essence.
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